Johannes Brahms was a German composer of the Romantic period. He was born in Hamburg and in his later years he settled in Vienna, Austria.


Early years
Brahms's father, Johann Jakob Brahms, came to Hamburg from Schleswig-Holstein, seeking a career as a town musician. He was proficient on several instruments, but found employment mostly playing the horn and double bass. He married Johanna Henrika Christiane Nissen, a seamstress, who was seventeen years older than he was. Initially, they lived near the city docks, in the Gängeviertel quarter of Hamburg, for six months before moving to a small house on the Dammtorwall, located on the northern perimeter of Hamburg in the Inner Alster.

Johann Jakob gave his son his first musical training. He studied piano from the age of seven with Otto Friedrich Willibald Cossel. It is a long-told tale that Brahms was forced in his early teens to play the piano in bars that doubled as brothels; recently Brahms scholar Kurt Hoffman has suggested that this legend is false. Since Brahms himself clearly originated the story, however, some have questioned Hoffman's theory.[1][2]

For a time, Brahms also learned the cello, although his progress was cut short when his teacher absconded with Brahms' instrument.[citation needed] After his early piano lessons with Otto Cossel, Brahms studied piano with Eduard Marxsen, who had studied in Vienna with Ignaz von Seyfried (a pupil of Mozart) and Carl Maria von Bocklet (a close friend of Schubert). The young Brahms gave a few public concerts in Hamburg, but did not become well known as a pianist until he made a concert tour at the age of nineteen. In later life, he frequently took part in the performance of his own works, whether as soloist, accompanist, or participant in chamber music. He was the soloist at the premieres of both his Piano Concerto No. 1 in 1859 and his Piano Concerto No. 2 in 1881. He conducted choirs from his early teens, and became a proficient choral and orchestral conductor.

Meeting Joachim and Liszt
He began to compose quite early in life, but later destroyed most copies of his first works; for instance, Louise Japha, a fellow-pupil of Marxsen, reported a piano sonata that Brahms had played or improvised at the age of 11. His compositions did not receive public acclaim until he went on a concert tour as accompanist to the Hungarian violinist Eduard Reményi in April and May of 1853. On this tour he met Joseph Joachim at Hanover, and went on to the Court of Weimar where he met Franz Liszt, Peter Cornelius, and Joachim Raff. According to several witnesses of Brahms' meeting with Liszt (at which Liszt performed Brahms' Scherzo, Op. 4 at sight), Reményi was offended by Brahms' failure to praise Liszt's Sonata in B minor wholeheartedly (Brahms supposedly fell asleep during a performance of the recently composed work), and they parted company shortly afterwards. Brahms later excused himself, saying that he could not help it, having been exhausted by his travels.

Brahms and Schumann
Joachim had given Brahms a letter of introduction to Robert Schumann, and after a walking tour in the Rhineland Brahms took the train to Düsseldorf, and was welcomed into the Schumann family on arrival there. Schumann, amazed by the 20 year-old's talent, published an article entitled "Neue Bahnen" (New Paths) in the October 28, 1853 issue of the journal Neue Zeitschrift für Musik alerting the public to the young man who he claimed was "destined to give ideal expression to the times."[3] This pronouncement was received with some skepticism outside Schumann's immediate circle, and may have increased Brahms' naturally self-critical need to perfect his works and technique. While he was in Düsseldorf, Brahms participated with Schumann and Albert Dietrich in writing a sonata for Joachim; this is known as the F-A-E Sonata. He became very attached to Schumann's wife, the composer and pianist Clara, fourteen years his senior, with whom he would carry on a lifelong, emotionally passionate, but probably platonic, relationship. Brahms never married, despite strong feelings for several women and despite entering into an engagement, soon broken off, with Agathe von Siebold in Göttingen in 1859. After Schumann's attempted suicide and subsequent confinement in a mental sanatorium near Bonn in February 1854, Brahms was the main intercessor between Clara and her husband, and found himself virtually head of the household.

Detmold and Hamburg
After Schumann's death at the sanatorium in 1856, Brahms divided his time between Hamburg, where he formed and conducted a ladies' choir, and the principality of Detmold, where he was court music-teacher and conductor. He first visited Vienna in 1862, staying there over the winter, and in 1863 was appointed conductor of the Vienna Singakademie. Though he resigned the position the following year and entertained the idea of taking up conducting posts elsewhere, he based himself increasingly in Vienna and soon made his home there. From 1872 to 1875 he was director of the concerts of the Vienna Gesellschaft der Musikfreunde; afterwards he accepted no formal position. He declined an honorary doctorate of music from University of Cambridge in 1877, but accepted one from the University of Breslau in 1879, and composed the Academic Festival Overture as a gesture of appreciation.

He had been composing steadily throughout the 1850s and 60s, but his music had evoked divided critical responses and the Piano Concerto No. 1 had been badly received in some of its early performances. His works were labelled old-fashioned by the 'New German School' whose principal figures included Liszt and Richard Wagner. Brahms admired some of Wagner's music and admired Liszt as a great pianist, but the conflict between the two schools, known as the War of the Romantics, soon embroiled all of musical Europe. In the Brahms camp were his close friends: Clara Schumann, the influential music critic Eduard Hanslick and the leading Viennese surgeon Theodor Billroth. In 1860 Brahms attempted to organize a public protest against some of the wilder excesses of their music.[citation needed] His manifesto, which was published prematurely with only three supporting signatures, was a failure and he never engaged in public polemics again.

Years of popularity
It was the premiere of Ein deutsches Requiem, his largest choral work, in Bremen in 1868 that confirmed Brahms' European reputation and led many to accept that he had fulfilled Schumann's prophecy. This may have given him the confidence finally to complete a number of works that he had wrestled with over many years, such as the cantata Rinaldo, his first string quartet, third piano quartet, and most notably his first symphony. This appeared in 1876, though it had been begun (and a version of the first movement seen by some of his friends) in the early 1860s. The other three symphonies then followed in 1877, 1883, and 1885. From 1881 he was able to try out his new orchestral works with the court orchestra of the Duke of Meiningen, whose conductor was Hans von Bülow.

Brahms frequently traveled, for both business (concert tours) and pleasure. From 1878 onwards he often visited Italy in the springtime, and usually sought out a pleasant rural location in which to compose during the summer. He was a great walker and especially enjoyed spending time in the open air, where he felt that he could think more clearly.

In 1889, one Theo Wangemann, a representative of American inventor Thomas Edison visited the composer in Vienna and invited him to make an experimental recording. He played an abbreviated version of his first Hungarian dance on the piano. The recording was later issued on an LP of early piano performances (compiled by Gregor Benko); while the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy surface noise. Nevertheless, this remains the earliest recording made by a major composer. Analysts and scholars remain divided, however, as to whether the voice that introduces the piece is that of Wangemann or of Brahms.[4]

In 1889 Brahms was named an honorary citizen of Hamburg, until 1948 the only one born in Hamburg. [5]

Later years
In 1890, the 57 year-old Brahms resolved to give up composing. However, as it turned out, he was unable to abide by his decision, and in the years before his death he produced a number of acknowledged masterpieces. His admiration for Richard Mühlfeld, clarinetist with the Meiningen orchestra, moved him to compose the Clarinet Trio Op. 114, Clarinet Quintet Op. 115 (1891), and the two Clarinet Sonatas Op. 120 (1894). He also wrote several cycles of piano pieces, Opp. 116-119, the Four Serious Songs (Vier ernste Gesänge), Op. 121 (1896), and the Eleven Chorale Preludes for organ, Op. 122 (1896).

While completing the Op. 121 songs, Brahms developed cancer (sources differ on whether this was of the liver or pancreas). His condition gradually worsened and he died on April 3, 1897. Brahms is buried in the Zentralfriedhof in Vienna.


Works
Brahms wrote a number of major works for orchestra, including two serenades, four symphonies, two piano concertos (No. 1 in D minor; No. 2 in B flat major), a Violin Concerto, a Double Concerto for violin and cello, and two orchestral overtures, the Academic Festival Overture and the Tragic Overture.

His large choral work Ein deutsches Requiem ("A German Requiem") is not a setting of the liturgical Missa pro defunctis, but a setting of texts which Brahms selected from the Lutheran Bible. The work was composed in three major periods of his life. An early version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and this was later used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was added after the official premiere in 1868, and the work was published in 1869.

Brahms' works in variation form include the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Joseph Haydn in versions for two pianos and for orchestra. The final movement of the Fourth Symphony (Op. 98) is formally a passacaglia.

His chamber works include three string quartets, two string quintets and two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets and four piano trios (the fourth being "opus posthumous"). He composed several instrumental sonatas with piano, including three for violin, two for cello and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms was a significant Lieder composer, who wrote over 200 songs. His chorale preludes for organ op. 122, which he wrote shortly before his death, have become an important part of the organist's repertoire.

Brahms strongly preferred writing absolute music that does not refer to an explicit scene or narrative, and he never wrote an opera or a symphonic poem.

Despite his reputation as a serious composer of large, complex musical structures, some of Brahms' most widely known and most commercially successful compositions during his life were small-scale works of popular intent aimed at the thriving contemporary market for domestic music-making; indeed, during the 20th century the influential American critic B. H. Haggin, rejecting more mainstream views, argued in his various guides to recorded music that Brahms was at his best in such works and much less successful in larger forms. Among the most cherished of these lighter works by Brahms are his sets of popular dances—the Hungarian Dances, the Waltzes Op. 39 for piano duet, and the Liebeslieder Waltzes for vocal quartet and piano—and some of his many songs, notably the Wiegenlied, Op. 49 No. 4 (published in 1868). This last was written (to a folk text) to celebrate the birth of a son to Brahms' friend Bertha Faber and is universally known as Brahms' Lullaby.

Style and influences
Brahms maintained a Classical sense of form and order in his works – in contrast to the opulence of the music of many of his contemporaries. Thus many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music," as opposed to the New German embrace of program music.

Brahms venerated Beethoven: in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. The main theme of the finale of Brahms's First Symphony is reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms he replied that any ass – jeder Esel – could see that.

Ein deutsches Requiem was partially inspired by his mother's death in 1865, but also incorporates material from a Symphony he started in 1854, but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned Symphony was re-worked as the first movement of the First Piano Concerto.

Brahms also loved the Classical composers Mozart and Haydn. He collected first editions and autographs of their works, and edited performing editions. He also studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz and especially Johann Sebastian Bach. His friends included leading musicologists, and with Friedrich Chrysander he edited an edition of the works of François Couperin. He looked to older music for inspiration in the arts of strict counterpoint; the themes of some of his works are modelled on Baroque sources, such as Bach's The Art of Fugue in the fugal finale of Cello Sonata No. 1, or the same composer's Cantata No. 150 in the passacaglia theme of the Fourth Symphony's finale.

The early Romantic composers also had a major influence on Brahms, particularly Schumann who encouraged Brahms as a young composer. Brahms often met Robert and Clara Schumann. During his stay in Vienna in 1862-3, Brahms became particularly interested in the music of Franz Schubert.[6] The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op. 25 & Op. 26, and the Piano Quintet which alludes to Schubert's String Quintet and Grand Duo for piano four hands.[7][6] There is less evidence for influence of Chopin and Mendelssohn on Brahms, although occasionally one can find in his works what seems to be an allusion to one of their works (for example, Brahms' Scherzo Op. 4 alludes to Chopin's Scherzo in B-flat minor;[8] the scherzo movement in Brahms' piano sonata in F minor, Op. 5 alludes to the finale of Mendelssohn's piano trio in C minor[9]).

Brahms considered giving up composition when it seemed that other composers' innovations in extended tonality would result in the rule of tonality being broken altogether. Although Wagner became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early Variations and Fugue on a Theme by Handel; Brahms himself, according to many sources (Swafford, 1999), deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory.

Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life. His Hungarian dances were among his most profitable compositions.

Although Brahms' religious views are not clear, one of his greatest influences was the Bible. He read especially Luther's translation. His "Requiem" employs biblical texts to convey a humanist message, and focus on the living rather than the dead. Author Walter Niemann declared, "The fact that Brahms began his creative activity with the German folk song and closed with the Bible reveals...the true religious creed of this great man of the people." Others see Brahms as more of a cultural Lutheran who embraced the cultural aspects of his upbringing but may or may not have adopted the religious beliefs.[10]

Writing in The New Oxford Companion to Music, Denis Arnold concludes, '...his appeal to musicians lies in the quality of his craftsmanship. His wider appeal surely lies in the essential conflict between the depth of emotion so often evident yet hidden behind his natural reserve. ...'

Influence
Brahms point of view looked both backward and forward; his output was often bold in its harmony and expression, prompting Arnold Schoenberg to write an essay "Brahms the Progressive" in 1933, which paved the way for a re-evaluation of Brahms's reputation in the 20th century. Schoenberg went so far as to orchestrate one of Brahms's piano quartets. Brahms offered substantial encouragement to Schoenberg's teacher Alexander Zemlinsky, and was apparently impressed by two movements of Schoenberg's early Quartet in D major which Zemlinsky showed him.

Brahms was honoured by the German Hall of Fame, the Walhalla temple. On 14 September 2000 he was introduced there as 126th "rühmlich ausgezeichneter Teutscher" and 13th composer among them, by a bust of sculptor Milan Knobloch.[11]

Like Beethoven, Brahms was fond of nature and often went walking in the woods around Vienna. He often brought penny candy with him to hand out to children. To adults Brahms was often brusque and sarcastic, and he sometimes alienated other people. His pupil Gustav Jenner wrote, "Brahms has acquired, not without reason, the reputation for being a grump, even though few could also be as lovable as he.[12]" He also had predictable habits which were noted by the Viennese press such as his daily visit to his favourite "Red Hedgehog" tavern in Vienna and the press also particularly took into account his style of walking with his hands firmly behind his back complete with a caricature of him in this pose walking alongside a red hedgehog. Those who remained his friends were very loyal to him, however, and he reciprocated with equal loyalty and generosity.

Brahms was a lifelong friend with Johann Strauss II though they were very different as composers. Brahms even struggled to get to the Theater an der Wien in Vienna for the premiere of Strauss' operetta Die Göttin der Vernunft in 1897 before his death. Perhaps the greatest tribute that Brahms could pay to Strauss was his remark that he would have given anything to have written The Blue Danube waltz. An anecdote dating around the time Brahms became acquainted with Strauss is that when Strauss' wife Adele asked Brahms to autograph her fan, he wrote a few notes from the "Blue Danube" waltz, and then cheekily inscribed the words "Alas, not by Brahms!"

Starting in the 1860s, when his works sold widely, Brahms was financially quite successful. He preferred a modest life style, however, living in a simple three-room apartment with a housekeeper. He gave away much of his money to relatives, and anonymously helped support a number of young musicians.

Brahms was an extreme perfectionist. He destroyed many early works - including a Violin Sonata he performed with Reményi and violinist Ferdinand David - and once claimed to have destroyed 20 string quartets before he issued his official First in 1873. Over the course of several years, he changed an original project for a Symphony in D minor into a piano concerto, his first. In another instance of devotion to detail, he labored over the official First Symphony for almost fifteen years, from about 1861 to 1876. Even after its first few performances, Brahms destroyed the original slow movement and substituted another before the score was published. (A conjectural restoration of the original slow movement has been published by Robert Pascall.) Another factor that contributed to Brahms' perfectionism was that Schumann had announced early on that Brahms was to become the next great composer like Beethoven, a prediction that Brahms was determined to live up to. This prediction hardly added to the composer's self-confidence, and may have contributed to the delay in producing the First Symphony. However, Clara Schumann noted before that Brahms' First Symphony was a product that was not reflective of Brahms' real nature. She felt that the final exuberant movement was "too brilliant," as she was encouraged by the dark and tempestuous opening movement she had seen in an early draft. However, she recanted in accepting the Second Symphony, which has often been seen in modern times as one of his sunniest works. Other contemporaries, however, found the first movement especially dark, and Reinhold Brinkmann, in a study of Symphony No.2 in relation to 19th century ideas of melancholy, has published a revealing letter from Brahms to the composer and conductor Vinzenz Lachner in which Brahms confesses to the melancholic side of his nature and comments on specific features of the movement that reflect this.

• Johannes Brahms: Life and Letters, ISBN 0-19-816234-0 by Brahms himself, edited by Styra Avins, translated by Josef Eisinger (1998). A biography by way of comprehensive footnotes to a comprehensive collection of Brahms' letters (some translated into English for the first time). Elucidates some previously contentious matters, such as Brahms' reasons for declining the Cambridge invitation.
• Brahms, His Life and Work, by Karl Geiringer, photographs by Irene Geiringer (1987, ISBN 0-306-80223-6). A biog and discussion of his musical output, supplemented by and cross-referenced with the body of correspondence sent to Brahms.
• Charles Rosen discusses a number of Brahms's imitations of Beethoven in Chapter 9 of his Critical Entertainments: Music Old and New (2000; Cambridge, MA: Harvard University Press, ISBN 0-674-17730-4).
• Brahms by Malcolm MacDonald is a biography and also discussion of virtually everything Brahms composed, along with chapters examining his position in Romantic music, his devotion to Early Music, and his influence on later composers. (Dent 'Master Musicians' series, 1990; 2nd edition Oxford, 2001, ISBN 0-19-816484-X
• Johannes Brahms: A Biography, by Jan Swafford. A comprehensive (752 pages) look at the life and works of Brahms. (1999; Vintage, ISBN 0-679-74582-3)
• Late Idyll: The Second Symphony of Johannes Brahms, by Reinhold Brinkmann, translated by Peter Palmer. An analysis of Symphony No.2 and meditation of its position in Brahms' career and in relation to 19th century ideas of melancholy. (1995, Harvard, ISBN 0-674-51175-1)

1.) Kurt Hoffman, Johannes Brahms und Hamburg (Reinbek, 1986) (in German: includes detailed refutation of the traditional story of Brahms playing piano in brothels, using the writings of those who knew the young Brahms, as well as evidence of the Hamburg's close regulation of those places, preventing the employment of children) 2.) Swafford, Jan (2001). "Did the Young Brahms Play Piano in Waterfront Bars?". 19th-century Music Vol. 24 (No. 3): pp. 268–275. doi:10.1525/ncm.2001.24.3.268. Retrieved on 2007-10-30. 3.) "Robert Schumann's Artikel Neue Bahnen". Retrieved on 2007-10-30. 4.) J. Brahms plays excerpt of Hungarian Dance No. 1 (2:10) at YouTube 5.) Stadt Hamburg Ehrenbürger (German) Retrieved on June 17, 2008 6.) a b James Webster, "Schubert's sonata form and Brahms' first maturity (II)", 19th-century Music 3(1)

# (1979), pp. 52-71. 7.) Donald Francis Tovey, "Franz Schubert" (1927), rpt. in Essays and Lectures on Music (London, 1949), p. 123. Cf. his similar remarks in "Tonality in Schubert" (1928), rpt. ibid., p. 151. 8.) Charles Rosen, "Influence: plagiarism and inspiration", 19th-century Music 4(2) (1980), pp. 87-100. 9.) H. V. Spanner, "What is originality?", The Musical Times 93(1313) (1952), pp. 310-311. 10.) Beller-McKenna, Daniel. Brahms and the German Spirit. Harvard University Press, Cambridge, Mass. 2004, ISBN 0-674-01318-2 11.) "Johannes Brahms hält Einzug in die Walhalla". Bayerisches Staatsministerium für Wissenschaft, Forschung und Kunst (2000-09-14). Retrieved on 2008-04-23. 12.) Brahms as Man, Teacher, and Artist

Works by Opus number

• Op. 1, Piano Sonata No. 1 in C major (1852)
• Op. 2, Piano Sonata No. 2 in F-sharp minor (1852)
• Op. 3, Six Songs (1853)
• Op. 4, Scherzo in E-flat minor, for piano (1851)
• Op. 5, Piano Sonata No. 3 in F minor (1853)
• Op. 6, Six Songs
• Op. 7, Six Songs
• Op. 8, Piano Trio No. 1 in B major/minor (two versions, 1854 and 1891-edited)
• Op. 9, Variations on a Theme by Robert Schumann in F-sharp minor, for piano (1854)
• Op. 10, Four Ballades, for piano (1854)
  • No. 1 in D minor
  • No. 2 in D major
  • No. 3 in B minor
  • No. 4 in B major
• Op. 11, Serenade No. 1 in D major, for orchestra (1857)
• Op. 12, Ave Maria, for mixed chorus (1858)
• Op. 13, Begräbnisgesang
• Op. 14, Eight Songs and Romances
• Op. 15, Piano Concerto No. 1 in D minor (1859)
• Op. 16, Serenade No. 2 in A major, for orchestra (1859)
• Op. 17, Vier Gesänge (Four Songs), for women's chorus, two horns and harp (1860)
  • No. 1 Es tönt ein voller Harfenklang
  • No. 2 Lied von Shakespeare
  • No. 3 Der Gärtner
  • No. 4 Gesang aus Fingal
• Op. 18, String Sextet No. 1 in B-flat major (1860)
• Op. 19, Five Poems
• Op. 20, Three Duets
• Op. 21, Two Sets of Variations, for piano
  • No. 1 Eleven Variations on an Original Theme, in D major (1857)
  • No. 2 Fourteen Variations on a Hungarian Melody, in D major (1854)
• Op. 22, Marienlieder, for mixed chorus (1860)
  • No. 1 Der englische Gruß
  • No. 2 Marias Kirchgang
  • No. 3 Marias Wallfahrt
  • No. 4 Der Jäger
  • No. 5 Ruf zur Maria
  • No. 6 Magdalena
  • No. 7 Marias Lob
• Op. 23, Variations on a Theme by Robert Schumann, for piano four-hands (1861)
• Op. 24, Variations and Fugue on a Theme by Handel for piano (1861)
• Op. 25, Piano Quartet No. 1 in G minor (1861)
• Op. 26, Piano Quartet No. 2 in A major (1861)
• Op. 27, Psalm 13
• Op. 28, Four Duets
• Op. 29, Two Motets, for mixed chorus (1860)
  • No. 1 Es ist das Heil uns kommen her
  • No. 2 Schaffe in mir, Gott, ein rein Herz
• Op. 30, Geistliches Lied
• Op. 31, Three Quartets, for mixed voices (1864)
  • No. 1 Wechsellied zum Tanze (1859)
  • No. 2 Neckereien (1863)
  • No. 3 Der Gang zum Liebchen (1863)
• Op. 32, Nine Songs
  • No. 9 Wie bist du, meine Königin
• Op. 33, Fifteen Romances from Tieck's Liebesgeschichte der schönen Magelone ("Magelone-Lieder") (1861/1869)
  • No. 1 Keine hat es noch gereut
  • No. 2 Traun! Bogen und Pfeil sind gut für den Feind
  • No. 3 Sind es Schmerzen, sind es Freuden
  • No. 4 Liebe kam aus fernen Landen
  • No. 5 So willst du es Armen dich gnädig erbarmen?
  • No. 6 Wie soll ich die Freude, die Wonne denn tragen?
  • No. 7 Was es dir, dem diese Lippen bebten
  • No. 8 Wie müssen uns trennen
  • No. 9 Ruhe, Süßliebchen, im Schatten
  • No. 10 Verzweiflung (So tönet denn, schäumende Wellen)
  • No. 11 Wie schnell verschwindet so Licht als Glanz
  • No. 12 Muß es eine Trennung geben
  • No. 13 Sulima (Geliebter, wo zaudert dein irrender Fuß?)
  • No. 14 Wie froh und frisch mein Sinn sich hebt
  • No. 15 Treue Liebe dauert lange
• Op. 34, Piano Quintet in F minor (1864)
• Op. 34b, Sonata for Two Pianos, in F minor
• Op. 35, Variations on a Theme by Paganini, for piano (1863)
• Op. 36, String Sextet No. 2 (1865)
• Op. 37, Three Sacred Choruses
• Op. 38, Cello Sonata No. 1 in E minor (1862-65)
• Op. 39, Sixteen Waltzes, for piano four-hands (1865)
  • No. 1 in B major
  • No. 2 in E major
  • No. 3 in G-sharp minor
  • No. 4 in E minor
  • No. 5 in E major
  • No. 6 in C-sharp major
  • No. 7 in C-sharp minor
  • No. 8 in B-flat major
  • No. 9 in D minor
  • No. 10 in G major
  • No. 11 in B minor
  • No. 12 in E major
  • No. 13 in C major
  • No. 14 in A minor
  • No. 15 in A-flat major
  • No. 16 in D minor
• Op. 40, Trio for Horn, Violin and Piano, in E-flat major (1865)
• Op. 41, Five Songs, for male voices
• Op. 42, Drei Gesänge (Three Songs), for mixed chorus (1860)
  • No. 1 Abendständchen (1859)
  • No. 2 Vineta
  • No. 3 Darthulas Grabgesang
• Op. 43, Four Songs
  • No. 1 Von ewiger Liebe
  • No. 2 Die Mainacht
• Op. 44, Twelve Songs and Romances
• Op. 45, Ein deutsches Requiem (A German Requiem), for soprano and baritone solos, mixed chorus and orchestra (1868)
• Op. 46, Four Songs
  • No. 1 Die Kränze
  • No. 2 Sah dem edlen Bildnis
  • No. 3 Die Schale der Vergessenheit
  • No. 4 An die Nachtigall
• Op. 47, Five Songs
  • No. 1 Botschaft
  • No. 3 Sonntag
• Op. 48, Seven Songs
  • No. 1 Der Gang zum Liebchen
• Op. 49, Five Songs
  • No. 4 Wiegenlied ("Brahms' Lullaby")
• Op. 50, Rinaldo, cantata for tenor solo, men's chorus and orchestra (1869)
• Op. 51, Two String Quartets
  • String Quartet No. 1 in C minor (1873)
  • String Quartet No. 2 in A minor (1873)
• Op. 52, Liebeslieder-Walzer, for vocal quartet and piano four-hands (1870)
  • No. 1 Rede, Mädchen, allzu liebes
  • No. 2 Am Gesteine rauscht die Flut
  • No. 3 O die Frauen, for tenor and bass
  • No. 4 Wie des Abends schöne Röte, for soprano and alto
  • No. 5 Die grüne Hopfenranke
  • No. 6 Ein kleiner, hübsche Vogel nahm den Flug
  • No. 7 Wohl schön bewandt, for alto
  • No. 8 Wenn so lind dein Augen mir
  • No. 9 Am Donaustrande, da steht ein Haus
  • No. 10 O wie sanft die Quelle
  • No. 11 Nein, est ist nicht auszukommen
  • No. 12 Schlosser auf, und mache Schlösser
  • No. 13 Vöglein durchrauscht die Luft, for soprano and alto
  • No. 14 Sieh, wie ist die Welle klar, for tenor and bass
  • No. 15 Nachtigall, sie singt so schön
  • No. 16 Ein dunkeler Schacht ist Liebe
  • No. 17 Nicht wandle, mein Licht dort außen, for tenor
  • No. 18 Es bebet das Gesträuche
• Op. 52a, Liebeslieder-Walzer, arrangement of Op. 52 for piano four-hands, without voices
• Op. 53, Rhapsody, for contralto solo, men's chorus and orchestra ("Alto Rhapsody") (1870)
• Op. 54, Schicksalslied, for mixed chorus and orchestra (1871)
• Op. 55, Triumphlied, for baritone solo, double mixed chorus and orchestra (1871)
• Op. 56, Variations on a Theme by Joseph Haydn (1873)
• Op. 57, Eight Songs
  • No. 1 Von waldbekränzter Höhe
• Op. 58, Eight Songs
• Op. 59, Eight Songs
  • No. 8 Dein blaues Auge hält so still
• Op. 60, Piano Quartet No. 3 in C minor
• Op. 61, Four Duets
• Op. 62, Sieben Lieder (Seven Songs), for mixed chorus (1874)
  • No. 1 Rosmarin
  • No. 2 Von alten Liebesliedern
  • No. 3 Waldesnacht
  • No. 4 Dein Herzlein mild
  • No. 5 All meine Herzgedanken
  • No. 6 Es geht ein Wehen
  • No. 7 Vergangen ist mir Glück und Heil
• Op. 63, Nine Songs
  • No. 5 Meine Liebe ist grün wie der Fliederbusch
  • No. 8 O wüßt' ich doch den Weg zurück
• Op. 64, Three Quartets, for mixed voices (1874)
  • No. 1 An die Heimat
  • No. 2 Der Abend
  • No. 3 Fragen
• Op. 65, Neue Liebeslieder, for vocal quartet and piano four-hands (1875)
  • No. 1 Verzicht, o Herz, auf Rettung
  • No. 2 Finstere Schatten der Nacht
  • No. 3 An jeder Hand die Finger, for soprano
  • No. 4 Ihr schwarzen Augen, for bass
  • No. 5 Wahre, wahre deinen Sohn', for alto
  • No. 6 Rosen steckt mit an die Mutter', for soprano
  • No. 7 Vom Gebirge, Well' auf Well'
  • No. 8 Weiche Gräser im Revier
  • No. 9 Nagen am Herzen, for soprano
  • No. 10 Ich kose süß mit der und der, for tenor
  • No. 11 Alles, alles in den Wind, for soprano
  • No. 12 Schwarzer Wald, dein Schatten ist so düster
  • No. 13 Nein, Geliebter, setze dich, for soprano and alto
  • No. 14 Flammenauge, dunkles Haar
  • No. 15 Zum Schluß: Nun ihr Musen, Genug!
• Op. 65a, Neue Liebeslieder, arrangement of Op. 65 for piano four-hands, without voices
• Op. 66, Five Duets
• Op. 67, String Quartet No. 3 in B-flat major (1876)
• Op. 68, Symphony No. 1 in C minor (1876 première)
• Op. 69, Nine Songs
• Op. 70, Four Songs
  • No. 2 Serenade
• Op. 71, Five Songs
  • No. 3 Geheimnis
  • No. 5 Minnelied
• Op. 72, Five Songs
• Op. 73, Symphony No. 2 in D major (1877)
• Op. 74, Two Motets, for mixed chorus
  • No. 1 Warum ist das Licht gegeben den Mühseligen (1877)
  • No. 2 O Heiland, reiß die Himmel auf (early 1860s)
• Op. 75, Four Ballads and Romances
• Op. 76, Eight Pieces, for piano (1878)
  • No. 1 Capriccio in F-sharp minor
  • No. 2 Capriccio in B minor
  • No. 3 Intermezzo in A-flat major
  • No. 4 Intermezzo in B-flat major
  • No. 5 Capriccio in C-sharp minor
  • No. 6 Intermezzo in A major
  • No. 7 Intermezzo in A minor
  • No. 8 Capriccio in C major
• Op. 77, Violin Concerto in D major (1878)
• Op. 78, Violin Sonata No. 1 in G major
• Op. 79, Two Rhapsodies, for piano (1879)
  • No. 1 Rhapsody in B minor
  • No. 2 Rhapsody in G minor
• Op. 80, Academic Festival Overture, for orchestra (1880)
• Op. 81, Tragic Overture, for orchestra (1880)
• Op. 82, Nänie, for mixed chorus and orchestra (1881)
• Op. 83, Piano Concerto No. 2 in B-flat major (1881)
• Op. 84, Romances and Songs
• Op. 85, Six Songs
  • No. 6 In Waldeseinsamkeit
• Op. 86, Six Songs
  • No. 2 Feldeinsamkeit
• Op. 87, Piano Trio No. 2 in C major
• Op. 88, String Quintet No. 1 in F major (1882)
• Op. 89, Gesang der Parzen, for mixed chorus and orchestra (1882)
• Op. 90, Symphony No. 3 in F major (1883)
• Op. 91, Two Songs, for voice, viola and piano
• Op. 92, Four Quartets, for mixed voices (1889)
  • No. 1 O schöne Nacht!
  • No. 2 Spätherbst
  • No. 3 Abendlied
  • No. 4 Warum?
• Op. 93, Six Songs and Romances for choir
• Op. 94, Five Songs
• Op. 95, Seven Songs
• Op. 96, Four Songs
  • No. 2 Wir wandelten
• Op. 97, Six Songs
  • No. 1 Nachtigall
  • No. 5 Komm bald
• Op. 98, Symphony No. 4 in E minor (1885)
• Op. 99, Cello Sonata No. 2 in F major (1886)
• Op. 100, Violin Sonata No. 2 in A major (1886)
• Op. 101, Piano Trio No. 3 in C minor (1886)
• Op. 102, Double Concerto in A minor, for violin and cello solos and orchestra (1887)
• Op. 103, Zigeunerlieder, for vocal quartet and piano (1887)
  • No. 1 He, Zigeuner, greife in die Saiten ein!
  • No. 2 Hochgetürmte Rimaflut, wie bist du trüb
  • No. 3 Wißt ihr, wann mein Kindchen am allerschönsten ist?
  • No. 4 Lieber Gott, du weißt, wie oft bereut ich hab'
  • No. 5 Brauner Bursche führt zum Tanze
  • No. 6 Röslein dreie in der Reihe blühn so rot
  • No. 7 Kommt dir manchmal in den Sinn
  • No. 8 Horch, der Wind klagt in den Zweigen traurig sacht
  • No. 9 Weit und breit schaut niemand mich an
  • No. 10 Mond verhüllt sein Angesicht
  • No. 11 Rote Abendwolken ziehn am Firmament
• Op. 104, Fünf Gesänge (Five Songs), for mixed chorus (1888)
  • No. 1 Nachtwache I
  • No. 2 Nachtwache II
  • No. 3 Letztes Glück
  • No. 4 Verlorne Jugend
  • No. 5 Im Herbst (1887)
• Op. 105, Five Songs
• Op. 106, Five Songs
  • No. 1 Ständchen
• Op. 107, Five Songs
  • No. 2 Salamander
• Op. 108, Violin Sonata No. 3 in D minor
• Op. 109, Fest- und Gedenksprüche, for mixed chorus (1888)
  • No. 1 Unsere Väter hofften auf dich
  • No. 2 Wenn ein starker Gewappneter
  • No. 3 Wo ist ein so herrlich Volk
• Op. 110, Three Motets, for mixed chorus (1889)
  • No. 1 Ich aber bin elend, und mir ist wehe
  • No. 2 Ach, arme Welt, du trügst mich
  • No. 3 Wenn wir in höchsten Nöten sein
• Op. 111, String Quintet No. 2 in G major ("Prater") (1890)
• Op. 112, Six Quartets, for mixed voices and piano (1891)
  • No. 1 Sehnsucht
  • No. 2 Nächtens
  • No. 3 Himmel strahlt so helle
  • No. 4 Rote Rosenknospen künden
  • No. 5 Brennessel steht an Weges Rand
  • No. 6 Liebe Schwalbe, kleine Schwalbe
• Op. 113, Thirteen Canons for female choir
• Op. 114, Trio for Piano, Clarinet, and Cello, in A minor (1891)
• Op. 115, Quintet for Clarinet and Strings, in B minor (1891)
• Op. 116, Seven Fantasias, for piano (1892)
  • No. 1 Capriccio in D minor
  • No. 2 Intermezzo in A minor
  • No. 3 Capriccio in G minor
  • No. 4 Intermezzo in E major
  • No. 5 Intermezzo in E minor
  • No. 6 Intermezzo in E major
  • No. 7 Capriccio in D minor
• Op. 117, Three Intermezzi, for piano (1892)
  • No. 1 in E-flat major
  • No. 2 in B-flat minor
  • No. 3 in C-sharp minor
• Op. 118, Six Pieces, for piano (1893)
  • No. 1 Intermezzo in A minor
  • No. 2 Intermezzo in A major
  • No. 3 Ballade in G minor
  • No. 4 Intermezzo in F minor
  • No. 5 Romance in F major
  • No. 6 Intermezzo in E-flat minor
• Op. 119, Four Pieces, for piano (1893)
  • No. 1 Intermezzo in B minor (Adagio)
  • No. 2 Intermezzo in E minor (Andantino un poco agitato)
  • No. 3 Intermezzo in C major (Grazioso e giocoso)
  • No. 4 Rhapsody in E-flat major (Allegro risoluto)
• Op. 120, Two Clarinet Sonatas (1894)
  • No. 1 Clarinet Sonata No. 1 in F minor
  • No. 2 Clarinet Sonata No. 2 in E-flat major
• Op. 121, Vier ernste Gesänge (Four Serious Songs) (1896)
• Op. 122, Eleven Chorale Preludes, for organ (1896)
  • No. 1 Mein Jesu, der du mich
  • No. 2 Herzliebster Jesu, was hast du verbrochen
  • No. 3 O Welt, ich muss dich lassen (first version)
  • No. 4 Herzlich tut mich erfreuen
  • No. 5 Schmücke dich, o Liebe Seele
  • No. 6 O wie selig seid ihr doch, ihr Frommen
  • No. 7 O Gott, du frommer Gott
  • No. 8 Es ist ein Ros' entsprungen
  • No. 9 Herzlich tut mich verlangen (first version)
  • No. 10 Herzlich tut mich verlangen (second version)
  • No. 11 O Welt, ich muss dich lassen (second version)

Works without Opus number (German: Werke ohne Opuszahl)

• WoO 1, Hungarian Dances (1869) (Brahms considered these adaptations, not original works, and so he did not assign an Opus #) [1]
• WoO 2, Scherzo from the 'F-A-E' Sonata (1853) (the other 3 movements are the work of Robert Schumann and Albert Dietrich)
• WoO 3, 2 Gavottes for piano
• WoO 4, 2 Gigues for piano
• WoO 5, Sarabandes for piano
• WoO 6, 51 Exercises (Übungen) for piano
• WoO 7, Chorale Prelude and Fugue on „O Traurigkeit, o Herzeleid“ for organ
• WoO 8, Fugue in A-flat minor for organ
• WoO 9, Prelude and Fugue in A minor for organ
• WoO 10, Prelude and Fugue in G minor for organ
• WoO 11, Cadenza for Johann Sebastian Bach's clavecin concerto (BWV 1052)
• WoO 12, 2 Cadenzas for Ludwig van Beethoven's piano concerto No. 4 (Opus 58)
• WoO 13, 2 Cadenzas for Wolfgang Amadeus Mozart's piano concerto (KV 453)
• WoO 14, Cadenza for Wolfgang Amadeus Mozart's piano concerto (KV 466)
• WoO 15, Cadenza for Wolfgang Amadeus Mozart's piano concerto (KV 491)
• WoO 16, Kleine Hochzeits-Kantate for soprano, alto, tenor and bass with piano accompaniment
• WoO 17, Kyrie for 4 mixed voice and basso continuo
• WoO 18, Missa canonica for choir with 4-6 mixed voices a cappella
• WoO 19, Dein Herzlein mild - Lied for choir with 4 female voices a cappella
• WoO 20, Dem dunklen Schoss der heilgen Erde - Lied for one voice with piano accompaniment
• WoO 21, Mondnacht - Lied for one voice with piano accompaniment
• WoO 22, Ophelia's Songs with piano accompaniment
• WoO 23, Regenlied - Lied for one voice with piano accompaniment
• WoO 24, Grausam erweiset sich Amor an mir - Canon for 4 female voices
• WoO 25, Mir lächelt kein Frühling - Canon for 4 female voices
• WoO 26, O wie sanft! - Canon for 4 female voices
• WoO 27, Spruch - - Canon for one voice with violin alto
• WoO 28, Töne, lindernder Klang! - Canon for 4 voices (SSAA or SATB)
• WoO 29, Wann? - Canon for soprano and alto
• WoO 30, Zu Rauch muss warden - Canon for 4 voices
• WoO 31, 15 German folk children's songs (Deutsche Volkskinderlieder) for solo voice with piano accompaniment
• WoO 32, 28 German folk songs (Deutsche Volkslieder) for voice with piano accompaniment
• WoO 33, 49 German folk songs (Deutsche Volkslieder) for solo voice (1-42) and small choir ad lib (43-49) with piano accompaniment
• WoO 34, 14 German folk songs (Deutsche Volkslieder) for choir (SATB) a cappella
• WoO 35, 12 German folk songs (Deutsche Volkslieder) for choir (SATB) a cappella
• WoO 36, 8 German folk songs (Deutsche Volkslieder) ieder for choir with 3 or 4 female voices a cappella
• WoO 37, 16 German folk songs (Deutsche Volkslieder) for choir with 3 or 4 female voices a cappella
• WoO 38, 20 German folk songs (Deutsche Volkslieder) for choir with 3 or 4 female voices a cappella

The purpose of our video library is to maintain a high quality index of the classical recordings available on YouTube. As these videos are not hosted on our own web page they might be deleted without our knowledge. If you come across a video that won't play please contact us and we will do our best to resolve the issue.

All videos are played in this browser window without interfering with your browsing of this site. So feel free to watch anything that peaks your interest.

If you find a video on YouTube that deserves to be in our index - contact us!

Chamber Music
String Quintet No. 1 Mov 1 Pt 1 performed by Henschel Quartet + Kazuki Sawa
String Quintet No. 1 Mov 1 Pt 2 performed by Henschel Quartet + Kazuki Sawa
String Quintet No. 1 Mov 2 performed by Henschel Quartet + Kazuki Sawa
String Quintet No. 1 Mov 3 performed by Henschel Quartet + Kazuki Sawa
String Quintet No. 1 Mov 4 performed by Henschel Quartet + Kazuki Sawa

Orchestral
Brahms Symphony No.4 Mov 1,1 performed by Carlos Kleiber
Brahms Symphony No.4 Mov 1,2 performed by Carlos Kleiber
Brahms Symphony No.4 Mov 2,1 performed by Carlos Kleiber
Brahms Symphony No.4 Mov 2,2 performed by Carlos Kleiber
Brahms Symphony No.4 Mov 3 performed by Carlos Kleiber
Brahms Symphony No.4 Mov 4 performed by Carlos Kleiber
Double Concerto, Op. 102 Part 1 performed by David Oistrakh and Mstislav Ro
Double Concerto, Op. 102 Part 2 performed by David Oistrakh and Mstislav Ro
Double Concerto, Op. 102 Part 3 performed by David Oistrakh and Mstislav Ro
Double Concerto, Op. 102 Part 4 performed by David Oistrakh and Mstislav Ro
Piano Concerto in D minor Part 1 performed by Gerstein, Dudamel
Piano Concerto in D minor Part 2 performed by Gerstein, Dudamel
Piano Concerto in D minor Part 3 performed by Gerstein, Dudamel
Piano Concerto in D minor Part 4 performed by Gerstein, Dudamel
Piano Concerto in D minor Part 5 performed by Gerstein, Dudamel
Piano concerto No.1 performed by Luca Rasca
Symphony 2 Mov 1,1 performed by Carlos Kleiber
Symphony 2 Mov 1,2 performed by Carlos Kleiber
Symphony 2 Mov 2 performed by Carlos Kleiber
Symphony 2 Mov 3 performed by Carlos Kleiber
Symphony 2 Mov 4 performed by Carlos Kleiber

Piano
Hungarian Dances 4,5 performed by Julius Katchen
Capriccio No. 2 Bm Op. 75 performed by Artur Rubinstein
Intermezzo Op. 117 No. 1 performed by Helene Grimaud
Intermezzo Op. 117 No.2 performed by Helene Grimaud
Intermezzo Op. 117 No.2 performed by Artur Rubinstein
Intermezzo Op. 117 No.3 performed by Helene Grimaud
Intermezzo Op. 117 No.3 performed by Gyula Kiss
Rhapsody Op. 79 No. 1 performed by Helene Grimaud
Rhapsody Op. 79 No. 1 performed by Marta Argerich
Rhapsody Op. 79 No. 2 performed by Helene Grimaud
Rhapsody Op. 79 No. 2 performed by Marta Argerich
Sonata No. 2 Mov 1 and 2 performed by Julius Katchen
Sonata No. 2 Mov 3 performed by Julius Katchen
Sonata No. 2 Mov 4 performed by Julius Katchen

This is a collection of links to the best free music available on the net. The collection is evergrowing - or perhaps everchanging - since we do not host these files ourselves. We try to keep our database as up to date as possible but sometimes we just can't keep up with all the changes. If you find a dead link please contact us and we will remove it as soon as possible.

If you find some other high quality recording that is not featured in our database, and which is free to the public. Please contact us as well so we can keep the quality of this database as high as possible.

---

Brahms - Hungarian Dance No. 5
Brahms - Intermezzo in C major, Op. 119, No. 3
Brahms - Op.45 Ein Deutsches Requiem
Brahms - Sixteen Waltzes for piano, four hands (Opus 39), in B major
Brahms - Sonata in F minor
Brahms - Symfoni Nr.4
Brahms - Symphony No. 2

Let's see if I can read your mind! Your first thought about this page was - "Why make a page with almost the same content as Wikipedias classical section, YouTube and the top free classical music download sites on the internet?". Were I right? Well even if that wasn't your first thought it is a question worth answering!

The internet is a wonderful place - never before has so much information been so easily accessible and never before have so many people been able to work together so easily. However, the strength of the web is also it's weakness - for too much information published in an unorganized fashion will deter most people from ever digging deep enough to find the real nuggets.

In other words - the internet is full of amazing content but sometimes it can be hard to find.

That's where Al Segno comes in, well at least that's the idea. If what you're looking for is related to classical music and classical composers we hope that you will be able to find it here! For the first release of this website we have added four composers - Ludvig van Beethoven, Johann Sebastian Bach, Pyotr Ilyich Tchaikovsky and Wolfgang Amadeus Mozart. For each of these composers you will find:

• An extensive biography including a list of their works (From Wikipedia)
• A comprehensive and easily browseable index of videos of high quality performances (YouTube)
• MP3s, podcasts and recordings of their music (Different pages).

As of now - August, 27th 2008 - Al Segnos composer portraits database has been officially launched.